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EXPLOSION | 0:00:11 | 0:00:12 | |
Remember, remember the fifth of November | 0:00:13 | 0:00:18 | |
Gunpowder, treason and plot | 0:00:20 | 0:00:23 | |
For I see no reason | 0:00:23 | 0:00:25 | |
why gunpowder treason | 0:00:25 | 0:00:28 | |
should ever be forgot... | 0:00:28 | 0:00:31 | |
Guy Fawkes Guy | 0:00:37 | 0:00:40 | |
Twas his intent | 0:00:40 | 0:00:42 | |
To blow up king and parliament | 0:00:42 | 0:00:45 | |
Three small barrels | 0:00:45 | 0:00:47 | |
Were laid below | 0:00:47 | 0:00:49 | |
To prove all England's overthrow... | 0:00:49 | 0:00:53 | |
By God's mercy he was catched | 0:00:57 | 0:01:00 | |
With a darkened lantern and burning match | 0:01:00 | 0:01:03 | |
So holloa boys, holloa boys | 0:01:03 | 0:01:05 | |
Let the bells ring | 0:01:05 | 0:01:07 | |
Holloa boys, holloa boys | 0:01:07 | 0:01:09 | |
God save the King... | 0:01:09 | 0:01:11 | |
OK, OK. You've had your fun. Get these darkies out of here. | 0:01:11 | 0:01:14 | |
The fun's only just started, Mr Van De Heyden. | 0:01:14 | 0:01:16 | |
That's your friend, right? | 0:01:18 | 0:01:20 | |
Talk to her. Make her see reason. | 0:01:20 | 0:01:22 | |
Your definition of reason being? | 0:01:22 | 0:01:24 | |
Remember, remember the fifth of November | 0:01:28 | 0:01:31 | |
Gunpowder, treason and plot | 0:01:31 | 0:01:33 | |
We see no reason | 0:01:33 | 0:01:35 | |
For gunpowder treason | 0:01:35 | 0:01:37 | |
To ever be forgot... | 0:01:37 | 0:01:41 | |
FOLK MUSIC PLAYS | 0:01:41 | 0:01:44 | |
You should have brought a coat. | 0:01:56 | 0:01:58 | |
Flak jacket, more like. | 0:01:58 | 0:01:59 | |
You stay here. | 0:02:05 | 0:02:06 | |
What is going on? | 0:02:10 | 0:02:12 | |
It's all right, Gracie. He's just having a bit of fun. | 0:02:21 | 0:02:24 | |
EXPLOSIONS | 0:02:26 | 0:02:30 | |
Mary. Mary, it's time we left. | 0:02:44 | 0:02:47 | |
Have you seen Emma? | 0:02:47 | 0:02:48 | |
Mary. | 0:02:48 | 0:02:50 | |
Gracie! | 0:02:53 | 0:02:55 | |
She's all right | 0:02:56 | 0:02:57 | |
SCREAM | 0:02:57 | 0:02:59 | |
Stay here. | 0:02:59 | 0:03:01 | |
Come on, stay with me. | 0:03:01 | 0:03:03 | |
Oh, no! | 0:03:13 | 0:03:14 | |
He's got a gun! | 0:03:14 | 0:03:16 | |
Emma! | 0:03:18 | 0:03:19 | |
Get him! | 0:03:22 | 0:03:23 | |
Hey! Hey, Tommy, lights! | 0:03:23 | 0:03:26 | |
Kill the bastard! | 0:03:26 | 0:03:29 | |
You're going to cop it now, boy! | 0:03:35 | 0:03:37 | |
Leave me alone! | 0:04:38 | 0:04:40 | |
Get off me! | 0:04:40 | 0:04:41 | |
Get in there! | 0:04:43 | 0:04:44 | |
And no more lip. | 0:04:44 | 0:04:46 | |
It's about bloody time, Doc. | 0:04:48 | 0:04:50 | |
Bill Hobart. | 0:04:50 | 0:04:51 | |
How lovely to have you back with us. | 0:04:51 | 0:04:53 | |
Doc. She's over here. | 0:04:53 | 0:04:55 | |
Don't keep him yakking, Davis. We'll be here all night. | 0:04:55 | 0:04:58 | |
I take it that's our... | 0:04:58 | 0:04:59 | |
Killer. Yep. | 0:04:59 | 0:05:02 | |
Oh, just a boy. | 0:05:04 | 0:05:05 | |
16. Winston Cummings. | 0:05:05 | 0:05:08 | |
Part of the orphanage. | 0:05:08 | 0:05:09 | |
Dear, oh, dear. | 0:05:14 | 0:05:16 | |
I've told you all I know. | 0:05:16 | 0:05:18 | |
Now I need to get the children home. | 0:05:18 | 0:05:20 | |
Can I help you take the children back to the orphanage? | 0:05:20 | 0:05:22 | |
I can manage. | 0:05:22 | 0:05:23 | |
Come on, Mary. We're leaving. | 0:05:23 | 0:05:25 | |
Mary! | 0:05:26 | 0:05:28 | |
Gracie, come with me. | 0:05:28 | 0:05:30 | |
Damned fool of a girl. | 0:05:34 | 0:05:37 | |
She should never have taken those children out. | 0:05:37 | 0:05:39 | |
Emma Keneally, | 0:05:43 | 0:05:44 | |
22 years old. | 0:05:44 | 0:05:46 | |
Straight-up shooting. | 0:05:46 | 0:05:48 | |
It would appear so, Charlie. | 0:05:49 | 0:05:51 | |
I trust you have the weapon there. | 0:05:51 | 0:05:53 | |
Ah... | 0:05:55 | 0:05:57 | |
A Luger P08. | 0:05:57 | 0:05:58 | |
A highly sought-after souvenir | 0:05:59 | 0:06:01 | |
for returning soldiers, the Luger. | 0:06:01 | 0:06:04 | |
Where would he get his hands on something like this? | 0:06:05 | 0:06:08 | |
The boy's probably a little too young for active service, hey? | 0:06:08 | 0:06:10 | |
Mm. | 0:06:10 | 0:06:12 | |
Ah, I found some spent shells over there. | 0:06:12 | 0:06:16 | |
Here. | 0:06:19 | 0:06:20 | |
This. | 0:06:23 | 0:06:24 | |
This is where he fired the gun. | 0:06:24 | 0:06:26 | |
Look, Charlie, | 0:06:28 | 0:06:29 | |
perfect cover. | 0:06:29 | 0:06:32 | |
Do you have your torch handy? | 0:06:32 | 0:06:34 | |
Yeah. | 0:06:34 | 0:06:35 | |
Ah, yes, now. | 0:06:37 | 0:06:39 | |
I don't think our shooter was standing. | 0:06:39 | 0:06:41 | |
I think he was kneeling. | 0:06:41 | 0:06:43 | |
A right hander, | 0:06:43 | 0:06:44 | |
if shooting from a kneeling position, would typically | 0:06:44 | 0:06:47 | |
put his right knee on the ground and step his left foot forward. | 0:06:47 | 0:06:51 | |
You see? | 0:06:51 | 0:06:53 | |
Now, looking at the impressions in the ground here, | 0:06:53 | 0:06:56 | |
I would say | 0:06:56 | 0:06:59 | |
the opposite applies. I think our shooter favoured his left. | 0:06:59 | 0:07:03 | |
Right. | 0:07:03 | 0:07:05 | |
Well, we found a third shell over here. | 0:07:05 | 0:07:08 | |
Well, there was a third shot? | 0:07:08 | 0:07:10 | |
Yeah. | 0:07:10 | 0:07:12 | |
Right there. | 0:07:14 | 0:07:16 | |
Did anyone actually see him fire the weapon? | 0:07:18 | 0:07:22 | |
No. | 0:07:22 | 0:07:23 | |
Well, forgive me, Charlie, but look. | 0:07:23 | 0:07:26 | |
Imagine this, if you will. | 0:07:26 | 0:07:28 | |
Here I am, under the cover of darkness. | 0:07:28 | 0:07:30 | |
I kneel, | 0:07:30 | 0:07:31 | |
shoot, | 0:07:31 | 0:07:33 | |
fell my target. | 0:07:33 | 0:07:35 | |
Why on Earth do I then move forward into the light | 0:07:35 | 0:07:38 | |
and what, take another shot? | 0:07:38 | 0:07:41 | |
Maybe you try to dispose of your gun in the bonfire. | 0:07:41 | 0:07:44 | |
Well... | 0:07:44 | 0:07:46 | |
Lucien, when you're finished here I wouldn't mind a lift home. | 0:07:46 | 0:07:49 | |
Yes, Mattie, of course, of course. | 0:07:49 | 0:07:51 | |
Oww. | 0:07:51 | 0:07:53 | |
Oh, you're hurt. | 0:07:53 | 0:07:54 | |
No, it's nothing. It's just a burn. | 0:07:54 | 0:07:56 | |
It's not nothing. | 0:07:56 | 0:07:58 | |
We'll sort you out. | 0:07:58 | 0:07:59 | |
One minute there were people singing and | 0:08:01 | 0:08:03 | |
dancing and then suddenly, there was a... | 0:08:03 | 0:08:07 | |
A boom. | 0:08:07 | 0:08:10 | |
And where was Emma when this occurred? | 0:08:10 | 0:08:13 | |
I'd lost sight of her. | 0:08:13 | 0:08:14 | |
She'd gone off to talk with Winston and the next time I saw her, she... | 0:08:14 | 0:08:19 | |
Yes. | 0:08:21 | 0:08:23 | |
Well, I'm just glad you're all right. | 0:08:23 | 0:08:25 | |
I still don't understand why Winston shot Emma. | 0:08:26 | 0:08:30 | |
He... He looked up to her. | 0:08:30 | 0:08:33 | |
If anything, I think he had a crush on her. | 0:08:33 | 0:08:35 | |
Really? | 0:08:37 | 0:08:39 | |
Was she aware of this crush? | 0:08:39 | 0:08:40 | |
She played on it. | 0:08:42 | 0:08:44 | |
Well, well. | 0:08:56 | 0:08:57 | |
Quick or the dead around here. | 0:08:57 | 0:08:59 | |
I was obliged to start without you. | 0:08:59 | 0:09:01 | |
Your new boss, the superintendent, | 0:09:01 | 0:09:03 | |
has been badgering me for my report. | 0:09:03 | 0:09:06 | |
Munro called you? | 0:09:06 | 0:09:07 | |
Three times in the past hour. | 0:09:07 | 0:09:10 | |
Catch me up. | 0:09:10 | 0:09:12 | |
Two gunshot wounds to the upper left thorax. | 0:09:12 | 0:09:15 | |
Entrance wounds through the second and third intercostal space. | 0:09:15 | 0:09:18 | |
No surrounding stippling or soot deposition. | 0:09:18 | 0:09:21 | |
She's lost an earring. Torn lobe. | 0:09:21 | 0:09:23 | |
Quite recently too, by the looks. | 0:09:23 | 0:09:25 | |
And blood under a broken fingernail. | 0:09:25 | 0:09:28 | |
No exit wounds. Both bullets have been accounted for. | 0:09:28 | 0:09:31 | |
Alice, two wounds very close together. Two bullets, | 0:09:32 | 0:09:37 | |
lodged very near the spine. | 0:09:37 | 0:09:39 | |
Someone was a very steady shot. | 0:09:39 | 0:09:41 | |
GUNSHOT | 0:09:46 | 0:09:47 | |
Out of practice, Major Blake. | 0:09:58 | 0:10:00 | |
What on Earth are you doing? | 0:10:04 | 0:10:07 | |
Conducting a little experiment. | 0:10:07 | 0:10:09 | |
That was dinner. | 0:10:09 | 0:10:11 | |
Right. | 0:10:11 | 0:10:13 | |
I thought it past its prime. | 0:10:13 | 0:10:15 | |
Well, it is now. | 0:10:15 | 0:10:17 | |
Ah, Charlie. | 0:10:22 | 0:10:24 | |
Do you know if Winston had any access to guns, arms training, | 0:10:24 | 0:10:27 | |
cadets, perhaps? | 0:10:27 | 0:10:29 | |
Well, he's not answering any questions at the moment, | 0:10:29 | 0:10:31 | |
-but I doubt it. -Why? | 0:10:31 | 0:10:33 | |
Well, | 0:10:33 | 0:10:35 | |
Doc, he's black. | 0:10:35 | 0:10:39 | |
Plenty of Aboriginal soldiers served, Charlie. | 0:10:39 | 0:10:41 | |
What's your point? | 0:10:41 | 0:10:43 | |
Look, I made the distance he supposedly fired that | 0:10:43 | 0:10:46 | |
gun at to be around 25 yards. | 0:10:46 | 0:10:48 | |
Now, I'll grant you, conducting a test without the actual | 0:10:48 | 0:10:51 | |
murder weapon is flawed science but... | 0:10:51 | 0:10:54 | |
Forgive me, I'm waffling. | 0:10:54 | 0:10:55 | |
Look, I consider myself an accomplished shot, Charlie. | 0:10:55 | 0:10:58 | |
I've had training, experience. | 0:10:58 | 0:11:01 | |
I had a devil of a time hitting | 0:11:01 | 0:11:02 | |
anything at that range, whereas our killer managed to fire off two | 0:11:02 | 0:11:05 | |
shots in quick succession, both shots bang on target. | 0:11:05 | 0:11:08 | |
-Impressive. -Impressive? | 0:11:08 | 0:11:10 | |
A damn-near bloody professional. | 0:11:10 | 0:11:12 | |
Oi! | 0:11:12 | 0:11:13 | |
Get off my desk. | 0:11:13 | 0:11:15 | |
Your desk? | 0:11:15 | 0:11:16 | |
Blake, what are you doing here? | 0:11:16 | 0:11:19 | |
A copy of the autopsy report on Emma Keneally. | 0:11:19 | 0:11:23 | |
I asked the forensic registrar to deliver it directly to me. | 0:11:23 | 0:11:26 | |
Ah, more than happy to do it in person. | 0:11:26 | 0:11:29 | |
And good to toss ideas around face-to-face. You know, | 0:11:29 | 0:11:31 | |
more collegiate. | 0:11:31 | 0:11:33 | |
I am capable of reading a report. | 0:11:33 | 0:11:35 | |
Yes, yes, of course, as you wish. I would like to see | 0:11:35 | 0:11:38 | |
young Winston, however, if I may. | 0:11:38 | 0:11:40 | |
I don't see why. | 0:11:40 | 0:11:41 | |
Well, he may be carrying injuries, and it's my job to ensure | 0:11:41 | 0:11:44 | |
he remains in good health whilst in police custody. | 0:11:44 | 0:11:47 | |
Charlie, fancy doing the honours? | 0:11:47 | 0:11:49 | |
Sergeant Hobart, | 0:11:49 | 0:11:51 | |
escort Doctor Blake to the cells. | 0:11:51 | 0:11:53 | |
Winston. | 0:11:56 | 0:11:58 | |
Go away. | 0:11:58 | 0:12:00 | |
Doesn't like the look of you, Doc. | 0:12:00 | 0:12:02 | |
Winston, I'm a doctor. My name's Lucien Blake. | 0:12:03 | 0:12:06 | |
I'd like to take a look at you, if that's all right. | 0:12:06 | 0:12:09 | |
You're not police? | 0:12:09 | 0:12:10 | |
No. No, I'm not. | 0:12:10 | 0:12:13 | |
You took quite a knock, I'm told. | 0:12:16 | 0:12:18 | |
I'm all right. | 0:12:18 | 0:12:20 | |
Yes, well, | 0:12:20 | 0:12:22 | |
how about we take a quick look anyway, eh? | 0:12:22 | 0:12:23 | |
Now, a couple of deep breaths for me, in and out. | 0:12:23 | 0:12:26 | |
Good. And one more. | 0:12:30 | 0:12:32 | |
I don't think anything's broken. That's a good sign. | 0:12:35 | 0:12:38 | |
Just bruised, I think. | 0:12:38 | 0:12:40 | |
What time is it? | 0:12:40 | 0:12:42 | |
Well, it's... | 0:12:42 | 0:12:44 | |
It's 9am. | 0:12:45 | 0:12:46 | |
12 more hours. | 0:12:46 | 0:12:48 | |
Then they have to charge me or let me go. | 0:12:48 | 0:12:50 | |
-Fancy yourself as a lawyer, do you? -Why not, eh? | 0:12:50 | 0:12:52 | |
You'll see the inside of a court room | 0:12:52 | 0:12:54 | |
soon enough, son. You won't be the last black fella to hang for... | 0:12:54 | 0:12:57 | |
You know, one day you're | 0:12:57 | 0:12:58 | |
not going to be able to do whatever you want to us? | 0:12:58 | 0:13:00 | |
One day you're all going to pay. | 0:13:00 | 0:13:02 | |
Yeah, well, till that day comes, | 0:13:02 | 0:13:03 | |
why don't you shut your boong mouth? | 0:13:03 | 0:13:05 | |
Bill. | 0:13:05 | 0:13:06 | |
We just got a call. | 0:13:10 | 0:13:11 | |
There's a witness to the shooting. | 0:13:11 | 0:13:13 | |
I saw him standing up by the trees. | 0:13:18 | 0:13:21 | |
He had something in his hand and then I saw two bright flashes. | 0:13:21 | 0:13:25 | |
How can you be sure it was Winston Cummings? | 0:13:26 | 0:13:28 | |
Ah, Tommy goes to school with him. | 0:13:28 | 0:13:30 | |
Why didn't you tell us last night when I first interviewed you, Tommy? | 0:13:30 | 0:13:34 | |
I thought what I saw was one of them Roman candle firecrackers. | 0:13:34 | 0:13:37 | |
You know, the ones that shoot out coloured balls. | 0:13:37 | 0:13:40 | |
It wasn't until I thought about it later that | 0:13:40 | 0:13:43 | |
I worked out that must have been the moment that he shot her. | 0:13:43 | 0:13:47 | |
You were in the car, listening to the | 0:13:47 | 0:13:49 | |
radio while all this was going on, weren't you? | 0:13:49 | 0:13:52 | |
Yeah, that's right. | 0:13:52 | 0:13:53 | |
Quiz Kids was on. | 0:13:53 | 0:13:56 | |
How'd you see Winston from inside the car, Tommy? | 0:13:56 | 0:13:58 | |
Here's you. | 0:14:01 | 0:14:03 | |
Here's the bonfire. | 0:14:05 | 0:14:06 | |
And that's where Winston was standing. | 0:14:08 | 0:14:11 | |
Your view is completely obscured by the bonfire. | 0:14:12 | 0:14:16 | |
You're wasting our time, Tommy. | 0:14:18 | 0:14:21 | |
I was only trying to help. | 0:14:21 | 0:14:23 | |
Everyone in town knows he done it. | 0:14:23 | 0:14:25 | |
It's all right. | 0:14:25 | 0:14:27 | |
Sister. | 0:14:41 | 0:14:43 | |
What do you want? | 0:14:43 | 0:14:44 | |
Ah, I'm meeting District Nurse O'Brien here. | 0:14:44 | 0:14:47 | |
We were chatting earlier. | 0:14:47 | 0:14:48 | |
I offered to do some free health checks on the children. | 0:14:48 | 0:14:52 | |
Did you indeed? | 0:14:52 | 0:14:53 | |
Good. Very good. | 0:14:57 | 0:14:59 | |
Well, you can hop down now. You ready? | 0:14:59 | 0:15:02 | |
One, two, three. Good girl. | 0:15:02 | 0:15:05 | |
Well, collectively they lack vitality. | 0:15:09 | 0:15:11 | |
They share some other symptoms as well. | 0:15:11 | 0:15:14 | |
Might pay to make a trip to the greengrocer, | 0:15:14 | 0:15:16 | |
pick up some oranges. | 0:15:16 | 0:15:17 | |
We lost our fruit trees to the birds. | 0:15:17 | 0:15:19 | |
We're doing without. | 0:15:19 | 0:15:21 | |
Yes. | 0:15:21 | 0:15:22 | |
Yes, of course. | 0:15:22 | 0:15:24 | |
Ah. | 0:15:24 | 0:15:26 | |
Well, hello there. | 0:15:26 | 0:15:27 | |
I suppose I'll have to have a look at you too, eh? | 0:15:29 | 0:15:32 | |
The baby's already had her health checks done. | 0:15:32 | 0:15:34 | |
Last week. | 0:15:34 | 0:15:36 | |
Sister Frances, please get the children ready for chapel. | 0:15:36 | 0:15:39 | |
OK. Come on, everybody out. | 0:15:39 | 0:15:41 | |
That must be you done, Doctor. | 0:15:46 | 0:15:48 | |
I think Nurse O'Brien is gathering up the last | 0:15:48 | 0:15:50 | |
one or two. | 0:15:50 | 0:15:52 | |
This, um... | 0:15:55 | 0:15:57 | |
This business with Emma Keneally. It's just... | 0:15:57 | 0:16:01 | |
Just terrible, isn't it? | 0:16:01 | 0:16:02 | |
Do you have any idea what might have driven Winston to want to kill her? | 0:16:04 | 0:16:08 | |
Are you a copper or a doctor? | 0:16:10 | 0:16:12 | |
Hello? | 0:16:23 | 0:16:24 | |
Who's there? | 0:16:24 | 0:16:26 | |
Mary. | 0:16:29 | 0:16:30 | |
What are you doing in here? | 0:16:35 | 0:16:37 | |
Isn't this the boys' dormitory? | 0:16:37 | 0:16:39 | |
This is Winston's bed. | 0:16:39 | 0:16:41 | |
Come on, Doctor Blake is waiting to see you. | 0:16:42 | 0:16:45 | |
Mattie? | 0:16:45 | 0:16:47 | |
In here, Doctor. | 0:16:47 | 0:16:49 | |
Stride Toward Freedom. | 0:16:55 | 0:16:57 | |
Martin Luther King. | 0:16:57 | 0:16:58 | |
It's Winston's. | 0:16:58 | 0:17:00 | |
Proud young man, by the looks. | 0:17:01 | 0:17:02 | |
"Consider this a call to arms. | 0:17:07 | 0:17:10 | |
"Warmest regards, EK." | 0:17:10 | 0:17:12 | |
EK... May I? | 0:17:13 | 0:17:15 | |
Of course. | 0:17:15 | 0:17:17 | |
Oh. | 0:17:19 | 0:17:21 | |
Thank you. | 0:17:21 | 0:17:22 | |
It's a love letter. | 0:17:28 | 0:17:30 | |
It seems young Winston had more than just a crush on Emma. | 0:17:36 | 0:17:40 | |
Well, why would you kill someone | 0:17:40 | 0:17:41 | |
if you thought you were in love with them? | 0:17:41 | 0:17:44 | |
If they were spurned, perhaps. | 0:17:44 | 0:17:46 | |
Ooh, who was spurned? | 0:17:46 | 0:17:48 | |
Oh nothing, Charlie. Pure conjecture at this point. | 0:17:48 | 0:17:50 | |
Are you joining us for lunch? | 0:17:50 | 0:17:53 | |
No, I've got a sandwich made up somewhere. | 0:17:53 | 0:17:55 | |
On the sink. | 0:17:55 | 0:17:56 | |
Jean, is everything OK? | 0:18:00 | 0:18:03 | |
Yes, wonderful. | 0:18:03 | 0:18:05 | |
I received a call from Christopher Junior. | 0:18:05 | 0:18:08 | |
Apparently I'm going to be a grandmother. | 0:18:08 | 0:18:11 | |
Congratulations! | 0:18:11 | 0:18:13 | |
Oh, wonderful news. How about that? | 0:18:13 | 0:18:15 | |
Bravo. | 0:18:15 | 0:18:16 | |
Well. | 0:18:16 | 0:18:18 | |
Out with the old, in with the new. | 0:18:18 | 0:18:21 | |
I'll, um, pick up a new letterbox in town, shall I? | 0:18:22 | 0:18:26 | |
Lovely. | 0:18:26 | 0:18:27 | |
KNOCK ON DOOR | 0:18:27 | 0:18:28 | |
-That'll be your one o'clock. -Right. | 0:18:28 | 0:18:31 | |
Mrs Goldsmith, why don't you have a seat there? | 0:18:33 | 0:18:36 | |
Now, what can I do for you? | 0:18:37 | 0:18:39 | |
Well, I have this cut, | 0:18:39 | 0:18:41 | |
and I fear it's become septic. | 0:18:41 | 0:18:43 | |
Goodness me. | 0:18:43 | 0:18:45 | |
I think you might be right. | 0:18:45 | 0:18:48 | |
That does look nasty, and | 0:18:48 | 0:18:50 | |
there appears to be something lodged in there. | 0:18:50 | 0:18:53 | |
Well, you've been at war, haven't you? | 0:18:57 | 0:19:01 | |
I'm sorry? | 0:19:01 | 0:19:03 | |
That... | 0:19:03 | 0:19:05 | |
That is a piece of shrapnel. | 0:19:05 | 0:19:07 | |
That's going to need a stitch. | 0:19:07 | 0:19:09 | |
I'm going to have to give you a local. | 0:19:09 | 0:19:10 | |
Are you all right with needles? | 0:19:10 | 0:19:12 | |
There we are. | 0:19:16 | 0:19:18 | |
Mrs Goldsmith, tell me, | 0:19:20 | 0:19:24 | |
that explosion... | 0:19:24 | 0:19:27 | |
Do you recall whether it happened before or after Emma was shot? | 0:19:27 | 0:19:31 | |
Um, no, sorry. | 0:19:31 | 0:19:33 | |
Things were all rather chaotic at that point. | 0:19:33 | 0:19:36 | |
Yes. | 0:19:36 | 0:19:38 | |
Yes, I'm sure. I believe your husband knew the deceased. | 0:19:38 | 0:19:41 | |
Yes, Emma was Ian's protegee. He taught her at Melbourne University. | 0:19:41 | 0:19:45 | |
Oh. And she followed him up here? | 0:19:45 | 0:19:48 | |
People tend to gravitate towards Ian. | 0:19:48 | 0:19:50 | |
Goodness, you both must be devastated. | 0:19:50 | 0:19:52 | |
And your husband knows the young boy, doesn't he? Winston. | 0:19:52 | 0:19:55 | |
I'm wondering if your housekeeper would mind calling for a taxi cab. | 0:19:55 | 0:19:58 | |
I walked here but I'm not sure I have the energy. | 0:19:58 | 0:20:00 | |
I tell you what. I have to drive into | 0:20:00 | 0:20:02 | |
town anyway. Why don't I drop you home? | 0:20:02 | 0:20:04 | |
No, I'm happy for a taxi, please. | 0:20:04 | 0:20:05 | |
Honestly, I insist. It's no trouble at all. | 0:20:05 | 0:20:08 | |
Of course Winston's innocent. | 0:20:08 | 0:20:11 | |
It's a ludicrous suggestion otherwise. | 0:20:11 | 0:20:13 | |
Ian and Emma successfully campaigned to get Winston | 0:20:13 | 0:20:16 | |
and Mary into the local public school. | 0:20:16 | 0:20:18 | |
We're on the League for Aboriginal Advancement together. | 0:20:18 | 0:20:21 | |
We went in hard, we won our case. | 0:20:21 | 0:20:23 | |
The school's P&C were furious. The thought of their | 0:20:23 | 0:20:27 | |
precious children sharing the same seat as coloureds. | 0:20:27 | 0:20:29 | |
Yes, I can see how that would earn you some enemies. | 0:20:29 | 0:20:33 | |
Well, it was worth it. | 0:20:33 | 0:20:35 | |
That boy Winston, he's something special. A smart lad. | 0:20:35 | 0:20:38 | |
He'll be the first man of colour to make the bar, you mark my words. | 0:20:38 | 0:20:41 | |
Dr Blake has better things to do than listen to your raves, dear. | 0:20:41 | 0:20:44 | |
Oh, thank you. And tell me, you don't recall speaking with Emma on the night of the bonfire? | 0:20:44 | 0:20:48 | |
No, no, sorry, I was quite preoccupied with my work, I'm afraid. | 0:20:48 | 0:20:53 | |
-Your work? -I'm a cultural anthropologist. | 0:20:53 | 0:20:56 | |
I was making sound recordings of the evening. | 0:20:56 | 0:20:58 | |
Part of my study into pagan ritual. | 0:20:58 | 0:21:01 | |
-Really? -Mm. -Oh, how fascinating. | 0:21:01 | 0:21:04 | |
I find it so. It'll be published one day soon, | 0:21:04 | 0:21:07 | |
and lost in a library soon after, no doubt. | 0:21:07 | 0:21:09 | |
But that's how I fill my days. | 0:21:09 | 0:21:11 | |
Just one more thing, if I may. | 0:21:11 | 0:21:14 | |
The explosion. What colour was the flame? | 0:21:14 | 0:21:17 | |
Blue. Bluish green. Why? | 0:21:19 | 0:21:22 | |
HE SNIFFS | 0:21:39 | 0:21:41 | |
Incandescence, Charlie. Light produced from heat. | 0:21:45 | 0:21:48 | |
Heat causes a substance to become hot and glow, | 0:21:48 | 0:21:51 | |
initially emitting infrared, | 0:21:51 | 0:21:54 | |
and then red, orange, | 0:21:54 | 0:21:56 | |
yellow and white light as it becomes hotter. | 0:21:56 | 0:21:58 | |
Are you with me so far? | 0:21:58 | 0:22:00 | |
Yeah, I don't think this is a good idea, Doc. | 0:22:00 | 0:22:03 | |
Now, luminescence on the other hand - | 0:22:03 | 0:22:05 | |
light produced using energy sources other than heat. | 0:22:05 | 0:22:08 | |
-Chemicals, Charlie. -What the hell are you doing? | 0:22:08 | 0:22:11 | |
Ah, just in time, gentlemen. | 0:22:11 | 0:22:12 | |
What the bloody...! | 0:22:13 | 0:22:15 | |
Colour, Charlie? | 0:22:17 | 0:22:18 | |
Definitely blue, towards the end. | 0:22:18 | 0:22:20 | |
Caused by the addition of copper chloride. | 0:22:20 | 0:22:22 | |
You won't find that in a regular 9mm round. | 0:22:22 | 0:22:25 | |
Davis, explain the meaning of this. | 0:22:25 | 0:22:28 | |
-Well... -It's all right, Charlie. | 0:22:28 | 0:22:30 | |
You said the boy reeked of gunpowder, and there's a reason for that. | 0:22:30 | 0:22:33 | |
But not because he fired a weapon. | 0:22:33 | 0:22:35 | |
He'd been playing with firecrackers. | 0:22:35 | 0:22:37 | |
Specifically, I think you'll find he was responsible for the | 0:22:37 | 0:22:40 | |
home-made bomb that caused the explosion in the bonfire last night. | 0:22:40 | 0:22:43 | |
I found this in the ashes of the fire. | 0:22:43 | 0:22:46 | |
The fire you raked out, Davis? | 0:22:48 | 0:22:49 | |
Bring in the suspect. | 0:22:53 | 0:22:55 | |
Hop to it. | 0:22:55 | 0:22:56 | |
Sorry, Bill. | 0:23:03 | 0:23:04 | |
You want to tell me about this? | 0:23:11 | 0:23:12 | |
I've already told you, I didn't kill Emma Keneally. | 0:23:12 | 0:23:15 | |
That's not what I'm asking you. | 0:23:15 | 0:23:17 | |
We're talking about the jam tin that you packed with gunpowder | 0:23:17 | 0:23:20 | |
from the emptied-out firecrackers. | 0:23:20 | 0:23:22 | |
-Don't put words in his mouth, Blake. -Guy Fawkes night. | 0:23:22 | 0:23:24 | |
Good way to draw attention away from the sound of a gun going off. | 0:23:24 | 0:23:27 | |
No, I was making a statement. | 0:23:27 | 0:23:29 | |
You used it as a distraction, didn't you? | 0:23:29 | 0:23:31 | |
Probably thought you were being clever about it. | 0:23:31 | 0:23:34 | |
-No. -Makes sense. You're a smart kid. | 0:23:34 | 0:23:37 | |
Wait till everyone's focused on the explosion, then pop. Hmm? | 0:23:37 | 0:23:42 | |
Winston, catch. | 0:23:42 | 0:23:43 | |
Here. What about this? | 0:23:46 | 0:23:48 | |
You see? No attempt to catch it till the very last moment. | 0:23:50 | 0:23:53 | |
-Better be going somewhere with this. -All right. | 0:23:53 | 0:23:56 | |
Winston, I am terribly sorry. | 0:23:56 | 0:23:57 | |
Just one more test, all right? | 0:23:58 | 0:24:00 | |
Can you tell me, in order from your left to your right, | 0:24:00 | 0:24:04 | |
who's standing where? | 0:24:04 | 0:24:06 | |
Well, you're in the middle, but I can't... | 0:24:13 | 0:24:16 | |
No. No. It's all right. It's over. | 0:24:16 | 0:24:19 | |
And again, I am so sorry for putting you through that. | 0:24:19 | 0:24:22 | |
Have you ever worn spectacles, glasses, for your vision? | 0:24:22 | 0:24:26 | |
No, never had any. | 0:24:26 | 0:24:27 | |
No, but you can read, obviously, | 0:24:27 | 0:24:30 | |
so your short range vision is fine. | 0:24:30 | 0:24:33 | |
Superintendent, two shots fired in quick succession, | 0:24:33 | 0:24:36 | |
25 yards, thereabouts, pinpoint accuracy, | 0:24:36 | 0:24:40 | |
at night, a moving target. I mean... | 0:24:40 | 0:24:43 | |
Look, confirm it with an ophthalmologist if necessary. | 0:24:43 | 0:24:46 | |
You can bet your life his lawyer will, if you put him on trial. | 0:24:46 | 0:24:50 | |
Release him. | 0:24:55 | 0:24:57 | |
CHEERING | 0:25:02 | 0:25:03 | |
Now, hang on a tick. Before you go... | 0:25:06 | 0:25:10 | |
These used to be my father's. | 0:25:10 | 0:25:13 | |
Just until you get yourself your own pair. | 0:25:13 | 0:25:17 | |
Let's see how they look on, eh? | 0:25:17 | 0:25:18 | |
Ah, pretty good, I'd say. | 0:25:22 | 0:25:24 | |
You know, that was fairly dangerous what you did with the jam tin, | 0:25:26 | 0:25:30 | |
packing it full of the gunpowder. People could have been killed. | 0:25:30 | 0:25:33 | |
Do you know who the Wathaurong are? | 0:25:36 | 0:25:38 | |
It's the name of the tribe from this area. | 0:25:40 | 0:25:44 | |
How many do you see around Ballarat today? | 0:25:44 | 0:25:46 | |
"Smoothing the pillow of a dying race." | 0:25:49 | 0:25:52 | |
That's what you lot call it. | 0:25:52 | 0:25:54 | |
You know what we call it? | 0:25:54 | 0:25:56 | |
Genocide. | 0:25:56 | 0:25:58 | |
You should learn some local history, Doctor, | 0:26:00 | 0:26:02 | |
before you start lecturing me about people dying. | 0:26:02 | 0:26:05 | |
-BOY: -Winston! -Winston! | 0:26:08 | 0:26:11 | |
CHEERING | 0:26:15 | 0:26:17 | |
UPBEAT MUSIC PLAYS INSIDE CAFE | 0:26:23 | 0:26:28 | |
-How are you? -Good. | 0:26:44 | 0:26:46 | |
-How can I help you? -Yes, two double malts, thank you. | 0:26:46 | 0:26:49 | |
Afternoon, Doc. Back for more fireworks? | 0:26:49 | 0:26:52 | |
Ah, Kevin. No, thank you. I think I've had plenty of fireworks for now. | 0:26:52 | 0:26:57 | |
It's funny, you know. | 0:26:57 | 0:26:59 | |
I remember your mum and dad coming in here as a wee kid. | 0:26:59 | 0:27:03 | |
It's funny, I... I don't recall ever coming here with my parents. | 0:27:03 | 0:27:08 | |
No, never said you did. | 0:27:08 | 0:27:10 | |
Every Friday night they'd come in, just like clockwork. | 0:27:10 | 0:27:14 | |
Your mum would order a slice of | 0:27:14 | 0:27:16 | |
poppy seed cake and Dad would heat it up in the salamander for her. | 0:27:16 | 0:27:20 | |
-Every Friday, you say? -Yep, they'd sit in that table right over there. | 0:27:20 | 0:27:24 | |
And he'd always make sure it was available for them. | 0:27:24 | 0:27:27 | |
Right. | 0:27:30 | 0:27:32 | |
Great tackle on Winston Cummings. | 0:27:32 | 0:27:35 | |
Yeah, well, just doing what needed to be done. | 0:27:35 | 0:27:39 | |
Did you see anything else, Kevin, when the shots were fired? | 0:27:39 | 0:27:43 | |
No, I was too busy loading up the bonfire. | 0:27:43 | 0:27:47 | |
Look, Miss, I know she was a friend of yours, | 0:27:47 | 0:27:50 | |
and I don't like speaking ill of the dead, but that Emma | 0:27:50 | 0:27:53 | |
-Keneally, she could be a right... -Tough little negotiator. | 0:27:53 | 0:27:56 | |
Yeah. She and Goldsmith caused an almighty mess at our school, | 0:27:56 | 0:28:00 | |
letting those darkies in. | 0:28:00 | 0:28:02 | |
It's not fair on anybody, the black kids more so. | 0:28:02 | 0:28:04 | |
Setting them up to fail like that. It's not right. | 0:28:04 | 0:28:07 | |
Winston Cummings was a gifted student. | 0:28:07 | 0:28:09 | |
Look how that turned out. Well, it's not their fault. | 0:28:09 | 0:28:14 | |
Genetics. They're equipped with a much smaller brain. | 0:28:14 | 0:28:16 | |
Scientific fact. Correct, Doc? | 0:28:16 | 0:28:18 | |
Well, I haven't read that particular paper. | 0:28:18 | 0:28:21 | |
-Anyhow, look, what do we owe you? -No, no, no charge, Tommy. | 0:28:21 | 0:28:25 | |
You know, it's Olivia Goldsmith I feel sorry for. | 0:28:28 | 0:28:32 | |
-Why's that? -Well, ah, | 0:28:32 | 0:28:34 | |
Emma and her husband, they worked really closely together, | 0:28:34 | 0:28:38 | |
if you know what I mean. | 0:28:38 | 0:28:40 | |
-Ah, great minds think alike. -Doc, you can't keep doing this. | 0:28:49 | 0:28:55 | |
Come on, Charlie, we're all family. | 0:28:55 | 0:28:57 | |
Hey, if Munro finds out you're here, he'll have my bloody head. | 0:28:58 | 0:29:02 | |
In your own little world, as always. | 0:29:04 | 0:29:08 | |
Have a look at this. It's Emma's diary. | 0:29:15 | 0:29:17 | |
"IG, such a hypocrite." | 0:29:20 | 0:29:23 | |
IG? Ian Goldsmith? | 0:29:23 | 0:29:26 | |
-Why is he a hypocrite? -We're yet to find that out, Charlie. | 0:29:26 | 0:29:30 | |
Doc? You should know. | 0:29:34 | 0:29:37 | |
Olivia Goldsmith? | 0:29:37 | 0:29:39 | |
She's been a member of the local gun club since she was a kid. | 0:29:39 | 0:29:44 | |
Her father's the club president. Said she's a hell of a shot. | 0:29:44 | 0:29:48 | |
Is that right? Thank you, Charlie. | 0:29:48 | 0:29:53 | |
SJ, BH, Maroopna, July 17. | 0:29:53 | 0:29:58 | |
-SJ. Sister Josephine? -That's what I was thinking. | 0:29:58 | 0:30:02 | |
And who's BH? | 0:30:02 | 0:30:03 | |
-Bill Hobart. -You let him in here? | 0:30:07 | 0:30:10 | |
-Now look, Bill... -Hang on, let me explain. | 0:30:10 | 0:30:12 | |
Get out! | 0:30:12 | 0:30:13 | |
Bill, tell me, what is your connection | 0:30:18 | 0:30:20 | |
to Sister Josephine at the orphanage? | 0:30:20 | 0:30:23 | |
-Do I have to cuff you, Doc? -Come on, what happens at Maroop... | 0:30:23 | 0:30:26 | |
Mattie, I was wondering, do you think you could chase something up for me? | 0:30:30 | 0:30:33 | |
Yeah, of course. | 0:30:33 | 0:30:34 | |
The minutes from the last couple of meetings of the League for Aboriginal Advancement. | 0:30:34 | 0:30:39 | |
-Yeah, I can do that. -Wonderful. | 0:30:39 | 0:30:41 | |
-Jean? -Mm? | 0:30:46 | 0:30:48 | |
The Goldsmiths. How old is their baby? | 0:30:48 | 0:30:52 | |
Baby? They don't have any children. | 0:30:52 | 0:30:57 | |
Really? Well, I couldn't help but notice a bassinet and | 0:30:57 | 0:31:01 | |
some nappies and so forth at their place. | 0:31:01 | 0:31:03 | |
She was having trouble falling pregnant. | 0:31:03 | 0:31:06 | |
-I know she saw your father about it. -I see. | 0:31:06 | 0:31:10 | |
Well, it certainly doesn't get any easier the older we get. | 0:31:10 | 0:31:14 | |
Anyhow, what's for dinner? | 0:31:14 | 0:31:16 | |
Well, it was going to be roast lamb and three veg. | 0:31:16 | 0:31:19 | |
Now it's just the three veg. | 0:31:19 | 0:31:21 | |
Yes, quite. | 0:31:21 | 0:31:23 | |
-How difficult would it be... -Hm? | 0:31:26 | 0:31:28 | |
..to turn that into a pot of soup? | 0:31:28 | 0:31:30 | |
A very large pot of soup? | 0:31:31 | 0:31:33 | |
-Well, hello, there. -Dr Blake. | 0:31:39 | 0:31:41 | |
Thought we'd say a quick hello to Winston, see how he's getting by. | 0:31:41 | 0:31:45 | |
-Marvellous news about his release. -Yes. Yes, it is. | 0:31:45 | 0:31:49 | |
Mrs Goldsmith, how's that arm of yours healing? | 0:31:53 | 0:31:56 | |
Oh, fine, thank you. | 0:31:56 | 0:31:57 | |
Well, cheerio. | 0:31:59 | 0:32:00 | |
Ah, Sister. Now, I took you at your word. | 0:32:02 | 0:32:06 | |
Where are we with the fingerprint analysis? | 0:32:11 | 0:32:13 | |
Ah, still waiting for it to come back, boss. | 0:32:13 | 0:32:16 | |
Take a walk with me, Davis. | 0:32:16 | 0:32:17 | |
Are we... we here to interview a suspect, sir? | 0:32:35 | 0:32:38 | |
-Do you have a suspect for me, Davis? -No, sir. | 0:32:38 | 0:32:41 | |
Or are you waiting for your landlord, Doctor Blake, | 0:32:41 | 0:32:44 | |
to provide you one, perhaps? | 0:32:44 | 0:32:45 | |
I'm having the sirloin. What about you? | 0:32:48 | 0:32:50 | |
My shout. | 0:32:50 | 0:32:52 | |
Well, Jean, I'd say your soup is a hit. | 0:32:56 | 0:33:00 | |
It's very much appreciated, thank you. | 0:33:00 | 0:33:03 | |
It's my pleasure. | 0:33:03 | 0:33:04 | |
Now, kids, when you've finished your dinner, we've got something very special lined up for you. | 0:33:05 | 0:33:12 | |
CHILDREN GASP | 0:33:13 | 0:33:14 | |
Ah! But... But you have to finish your dinner first, all right? | 0:33:14 | 0:33:19 | |
-May I leave the table, Sister? -Yes. | 0:33:19 | 0:33:22 | |
Take your dishes to the kitchen sink, thank you. | 0:33:22 | 0:33:25 | |
Not you, Mary. You're heading the washing up team. | 0:33:25 | 0:33:28 | |
Sister, young Winston, he's left-handed. | 0:33:34 | 0:33:38 | |
He's ambidextrous. | 0:33:40 | 0:33:41 | |
-Nice crockery, Sister. -Brought them back from China. | 0:33:41 | 0:33:46 | |
-Ah, you were in China? -Ah, a decade back. | 0:33:46 | 0:33:48 | |
-I was part of a Catholic mission in Shandong. -Ah. | 0:33:48 | 0:33:52 | |
What's your connection? | 0:33:52 | 0:33:54 | |
I have a daughter there. | 0:33:54 | 0:33:56 | |
-How old? -She's 21. | 0:33:56 | 0:33:59 | |
She's a long way from home. | 0:34:00 | 0:34:02 | |
Something you need to hear, Davis. | 0:34:15 | 0:34:18 | |
Your father. | 0:34:21 | 0:34:22 | |
I knew him back when I was a young copper in Richmond. | 0:34:24 | 0:34:28 | |
You did? | 0:34:28 | 0:34:29 | |
We worked the beat together. | 0:34:31 | 0:34:33 | |
Took me under his wing | 0:34:33 | 0:34:34 | |
while I was still trying to work out which way was up. | 0:34:34 | 0:34:37 | |
He was a good man, your dad. | 0:34:40 | 0:34:42 | |
His own man. | 0:34:46 | 0:34:47 | |
-Have you been here long? -Eight years. | 0:34:54 | 0:34:57 | |
I see. And how do you like Ballarat? | 0:34:59 | 0:35:04 | |
It's nice. | 0:35:04 | 0:35:06 | |
Stupid! Stupid girl! Stupid Aboriginal! | 0:35:12 | 0:35:15 | |
It's all right. Mary, it's my fault. It's all right. | 0:35:15 | 0:35:18 | |
It... It's not that nice here. | 0:35:20 | 0:35:22 | |
No. | 0:35:24 | 0:35:26 | |
They cry. Every night before they go to sleep. | 0:35:28 | 0:35:32 | |
And what about you? | 0:35:36 | 0:35:37 | |
I stopped crying a long time ago. | 0:35:37 | 0:35:40 | |
Sister, tell me, what does the name Maroopna mean to you? | 0:35:46 | 0:35:51 | |
It's the town where the vast percentage of our orphans come from. | 0:35:51 | 0:35:56 | |
So all their parents are deceased? | 0:35:56 | 0:35:58 | |
Families break down in different ways. | 0:35:58 | 0:36:00 | |
-Very hard to lose your children. -I don't make the rules. | 0:36:03 | 0:36:07 | |
The state's neglect laws determine whether I receive children or not. | 0:36:07 | 0:36:11 | |
All I do is open my doors. | 0:36:11 | 0:36:14 | |
Quite. Tell me, who transports the little ones? | 0:36:14 | 0:36:19 | |
The police. | 0:36:19 | 0:36:20 | |
-Bill Hobart? -Sometimes. | 0:36:20 | 0:36:23 | |
BABY GURGLES | 0:36:23 | 0:36:25 | |
And the baby. When did she arrive? | 0:36:28 | 0:36:31 | |
Last Tuesday. | 0:36:31 | 0:36:33 | |
-Lucien, would you mind coming with me, please? -'Course. | 0:36:33 | 0:36:37 | |
Those are my old glasses. I gave them to Winston weeks ago. | 0:36:54 | 0:36:59 | |
My dear Lee, I know we didn't part on the best of terms, but | 0:37:46 | 0:37:50 | |
I simply can't leave things as they are. | 0:37:50 | 0:37:52 | |
I know it may not be easy, but please take the time to write back. | 0:38:05 | 0:38:12 | |
I miss you more than you could possibly imagine. | 0:38:12 | 0:38:15 | |
All my love, your father, Lucien. | 0:38:15 | 0:38:21 | |
-I'm off to bed, Lucien. -Jean, would you..?. | 0:38:46 | 0:38:50 | |
Would you mind terribly popping that in the post for me in the morning? | 0:38:50 | 0:38:53 | |
Of course. I'll do it first thing. | 0:38:53 | 0:38:56 | |
Thank you. | 0:38:56 | 0:38:59 | |
Goodnight. | 0:38:59 | 0:39:01 | |
Goodnight, Jean. | 0:39:02 | 0:39:04 | |
Did young Mary say anything else? | 0:39:24 | 0:39:26 | |
Not much. She's scared, Lucien. | 0:39:26 | 0:39:30 | |
-Scared of what? -Of us. | 0:39:31 | 0:39:35 | |
She's just a girl and she's trapped in this town where nobody | 0:39:35 | 0:39:39 | |
seems to like her. | 0:39:39 | 0:39:40 | |
No family. It's just dreadful. | 0:39:40 | 0:39:43 | |
Yes. Yes, it is. | 0:39:43 | 0:39:45 | |
I just wish there was something more I could do to help. | 0:39:45 | 0:39:49 | |
Well, you certainly helped last night, and I thank you. | 0:39:49 | 0:39:53 | |
Just a delight to see those young ones tucking into some good | 0:39:53 | 0:39:56 | |
healthy food for a change. | 0:39:56 | 0:39:57 | |
Wasn't it? | 0:39:59 | 0:40:01 | |
It seemed like a rather empty gesture to me. | 0:40:01 | 0:40:04 | |
You're quite right. | 0:40:07 | 0:40:09 | |
Let's organise for a delivery once a week to the orphanage. | 0:40:09 | 0:40:12 | |
Plenty of fresh fruit and veggies. | 0:40:12 | 0:40:15 | |
Perhaps you could sort out the details for me. | 0:40:15 | 0:40:18 | |
Ah. | 0:40:18 | 0:40:19 | |
I have been in contact | 0:40:20 | 0:40:22 | |
with the League For Aboriginal Advancement | 0:40:22 | 0:40:24 | |
and they're involved in some very | 0:40:24 | 0:40:26 | |
important work, if the minutes of their last few meetings are | 0:40:26 | 0:40:29 | |
-anything to go by. -You've read the minutes? | 0:40:29 | 0:40:31 | |
Oh, I did better than that. | 0:40:31 | 0:40:33 | |
I hope you can read my shorthand. | 0:40:33 | 0:40:35 | |
This one records from a reel to reel and this one does exactly | 0:40:38 | 0:40:41 | |
the same thing and it's just, you know, much more compact. | 0:40:41 | 0:40:43 | |
It's so portable. You could take this anywhere, couldn't you? | 0:40:43 | 0:40:46 | |
Ah, it's remarkable how small they can get these days, it really is. | 0:40:46 | 0:40:49 | |
Oh, Olivia, the doctor's here talking the latest technology. | 0:40:49 | 0:40:52 | |
He's looking at getting a reel to reel of his own. | 0:40:52 | 0:40:55 | |
Yes. Do you know, I just had a thought. | 0:40:55 | 0:40:58 | |
You were recording the other night at the bonfire, weren't you? | 0:40:58 | 0:41:02 | |
I wonder whether you might have picked something up on tape, | 0:41:02 | 0:41:05 | |
the shooting, perhaps? | 0:41:05 | 0:41:08 | |
The tape was ruined, I'm afraid. The flare from the explosion. | 0:41:08 | 0:41:12 | |
I see. | 0:41:12 | 0:41:14 | |
Just one more thing, if I may. | 0:41:14 | 0:41:16 | |
Ian, you're a member of the League For Aboriginal Advancement. | 0:41:16 | 0:41:20 | |
Mm-hm. We both are. We've attended every meet. | 0:41:20 | 0:41:23 | |
Really? | 0:41:23 | 0:41:25 | |
That's not what's recorded in the minutes. | 0:41:25 | 0:41:28 | |
You sent your apologies at last | 0:41:28 | 0:41:30 | |
week's meeting. Why did you fail to attend? | 0:41:30 | 0:41:32 | |
Well, I don't see what relevance that has to this. | 0:41:32 | 0:41:35 | |
The baby at the orphanage. | 0:41:35 | 0:41:37 | |
She was supposed to be delivered to you, wasn't she? | 0:41:37 | 0:41:40 | |
You've been waiting for just the right child. | 0:41:40 | 0:41:43 | |
A baby that was...just white enough. | 0:41:43 | 0:41:47 | |
Emma found out. She threatened to expose you to the League. | 0:41:47 | 0:41:51 | |
That child was deemed under neglect, by the state. | 0:41:51 | 0:41:54 | |
I had every right. | 0:41:54 | 0:41:56 | |
Yes, yes, yes. Emma put the brakes on your plans, didn't she? | 0:41:56 | 0:42:00 | |
Is that why you two fought that night at the bonfire? | 0:42:00 | 0:42:02 | |
Is that how you got that scratch on your neck? | 0:42:02 | 0:42:04 | |
OK, that's enough. That's quite enough. | 0:42:04 | 0:42:06 | |
Do you own a gun, Mr Goldsmith? | 0:42:06 | 0:42:07 | |
I only ask because the police already know | 0:42:07 | 0:42:09 | |
that your wife's been a member of the local gun club | 0:42:09 | 0:42:12 | |
-since she was a girl. -Get out. | 0:42:12 | 0:42:15 | |
That fight, Mrs Goldsmith. You were angry. | 0:42:15 | 0:42:17 | |
Furious. Furious enough perhaps to shoot Emma. | 0:42:17 | 0:42:22 | |
Get out of my house! | 0:42:22 | 0:42:24 | |
Ian, be a man for once in your life and get him out of here | 0:42:24 | 0:42:27 | |
Ian, it's all right. I'm leaving. | 0:42:27 | 0:42:29 | |
Lovely day. | 0:42:53 | 0:42:55 | |
Cheerio. | 0:43:03 | 0:43:05 | |
I hope that's a new letterbox. | 0:43:20 | 0:43:22 | |
DISTANT VOICES: How about that? A bunger. | 0:43:31 | 0:43:33 | |
-Oh, here we are. -They're noisy! | 0:43:33 | 0:43:36 | |
Yes, they are. Careful! Oh! | 0:43:36 | 0:43:39 | |
And what about... a halfpenny bunger. | 0:43:39 | 0:43:44 | |
CRACK Oh, there we are! | 0:43:46 | 0:43:49 | |
-Argh! -There we go! | 0:43:53 | 0:43:55 | |
JOLLY MUSIC AND POPPING | 0:44:14 | 0:44:16 | |
That's a penny bunger. | 0:44:16 | 0:44:18 | |
-WHISTLING -That's the man with the penny whistle. | 0:44:18 | 0:44:21 | |
Excellent. Now, keep listening. | 0:44:21 | 0:44:22 | |
BANG | 0:44:22 | 0:44:24 | |
What's that? I don't recognise that sound at all. | 0:44:24 | 0:44:26 | |
Shh. Wait. | 0:44:26 | 0:44:28 | |
MUSIC AND BANGING | 0:44:28 | 0:44:30 | |
-Gunshots. -No! | 0:44:30 | 0:44:32 | |
It was barely audible. | 0:44:32 | 0:44:34 | |
No, wait a minute. I'll play it again. | 0:44:34 | 0:44:37 | |
Now, listen carefully. | 0:44:37 | 0:44:39 | |
MUSIC AND GENTLE THUDDING | 0:44:39 | 0:44:42 | |
The Roman candle. | 0:44:42 | 0:44:45 | |
Jumping Jack, | 0:44:45 | 0:44:47 | |
penny bunger and... | 0:44:47 | 0:44:49 | |
BANGING | 0:44:49 | 0:44:52 | |
..there. | 0:44:52 | 0:44:53 | |
-All three gunshots accounted for. -Well, where was the explosion? | 0:44:53 | 0:44:57 | |
It doesn't come for another seven or eight seconds. | 0:44:57 | 0:45:00 | |
We've all been assuming that | 0:45:00 | 0:45:01 | |
the jam tin bomb was used to disguise the sound of the gunshots. | 0:45:01 | 0:45:06 | |
This proves they're separate events entirely. | 0:45:06 | 0:45:09 | |
The penny whistle. At the bonfire, the penny whistler | 0:45:11 | 0:45:16 | |
scared little Gracie. Then Mary left. | 0:45:16 | 0:45:19 | |
She'd seen Emma and Winston together. | 0:45:19 | 0:45:22 | |
Well, where was she when the shots rang out? | 0:45:22 | 0:45:25 | |
I don't know. | 0:45:25 | 0:45:28 | |
She... | 0:45:28 | 0:45:29 | |
She was by my side when the explosion happened but... | 0:45:29 | 0:45:32 | |
By then, Emma was already dead. We need to talk to Mary. | 0:45:32 | 0:45:36 | |
Righto, Mattie. | 0:45:42 | 0:45:43 | |
Charlie, what's going on? | 0:45:46 | 0:45:49 | |
Winston lied to us about having glasses. | 0:45:49 | 0:45:51 | |
The nun confirmed they're his. She's the one gave them to him. | 0:45:51 | 0:45:53 | |
What are you doing with him? | 0:45:53 | 0:45:55 | |
-He's being charged with the shooting of Emma Keneally. -Oh, come on! | 0:45:55 | 0:45:57 | |
What possible motivation would he have for killing Emma? | 0:45:57 | 0:46:00 | |
Well, Davis found a love letter, too. | 0:46:00 | 0:46:02 | |
Seems the kid was lovestruck and she didn't want a bar of him. | 0:46:02 | 0:46:05 | |
-It's lucky we found him before he went bloody walkabout. -Let's go. | 0:46:05 | 0:46:09 | |
Sister, we need to have a quick word with young Mary, if we may. | 0:46:13 | 0:46:18 | |
That will be difficult. Mary's gone. | 0:46:18 | 0:46:21 | |
Her bed hasn't been slept in and my bike is missing. | 0:46:21 | 0:46:24 | |
Where would she go? | 0:46:24 | 0:46:26 | |
She has brothers in Maroopna. | 0:46:27 | 0:46:29 | |
Right, thank you, Sister. | 0:46:29 | 0:46:33 | |
Come on. | 0:46:33 | 0:46:35 | |
"When I look at you sometimes you make the sun...shine"? Very sweet. | 0:46:39 | 0:46:45 | |
"You're always so smart, | 0:46:47 | 0:46:49 | |
"the prettiest girl I know..." | 0:46:49 | 0:46:51 | |
Spelled p-r-e-t-t-y-e-s-t. | 0:46:51 | 0:46:53 | |
I didn't write that letter. | 0:46:53 | 0:46:55 | |
And those weren't your glasses, either? | 0:46:55 | 0:46:58 | |
What are we meant to think, Winston? | 0:46:58 | 0:47:00 | |
Hm? You're not saying much. | 0:47:00 | 0:47:03 | |
So you can twist my words, and use them against me? | 0:47:05 | 0:47:08 | |
And you wanting to go to university. The irony. | 0:47:08 | 0:47:12 | |
You know what Wendouree translates as in our language? | 0:47:14 | 0:47:17 | |
When the white settlers first came across the lake, | 0:47:21 | 0:47:24 | |
the local Aboriginal people told 'em, | 0:47:24 | 0:47:26 | |
"Wendouree, wendouree." | 0:47:26 | 0:47:29 | |
The whitefellas must have thought it was the name of the place, | 0:47:29 | 0:47:32 | |
when really they were wanting them to go away, go away. | 0:47:32 | 0:47:35 | |
That's irony. | 0:47:36 | 0:47:37 | |
Wendouree. | 0:47:50 | 0:47:51 | |
Enough! Stop it! | 0:47:54 | 0:47:56 | |
Wendouree! | 0:48:00 | 0:48:02 | |
Enough! | 0:48:05 | 0:48:06 | |
Wendouree. | 0:48:12 | 0:48:13 | |
Now, Mattie, do you think that's her bicycle? | 0:48:25 | 0:48:28 | |
I think so, yes. There she is! | 0:48:28 | 0:48:30 | |
Mary! | 0:48:36 | 0:48:38 | |
Oh, goodness, she's cold. | 0:48:39 | 0:48:42 | |
Suffering from hypothermia. We'll need to get to a hospital, Mattie. | 0:48:42 | 0:48:45 | |
Help me get her up, would you? | 0:48:45 | 0:48:46 | |
That's the way. That's the way. | 0:48:46 | 0:48:49 | |
-Well, that's unusual. -What? | 0:48:52 | 0:48:55 | |
Look, this mark here. That... | 0:48:55 | 0:48:58 | |
That's a bullet graze. | 0:48:58 | 0:49:00 | |
Lucien! | 0:49:11 | 0:49:12 | |
Mary wasn't running to someone, she was running away from someone. | 0:49:12 | 0:49:15 | |
I can't believe she'd come out here | 0:49:15 | 0:49:17 | |
without a coat on. Such a bitterly cold night. | 0:49:17 | 0:49:20 | |
-Because she'd given her coat to Emma. -What? | 0:49:20 | 0:49:24 | |
Emma came under-dressed on the night of the bonfire. | 0:49:24 | 0:49:26 | |
Mary must have lent her coat to Emma. | 0:49:26 | 0:49:28 | |
Emma was wearing it when she was shot. | 0:49:28 | 0:49:31 | |
Oh, of course. | 0:49:31 | 0:49:34 | |
GUNSHOTS | 0:49:34 | 0:49:35 | |
GUNSHOT | 0:49:41 | 0:49:42 | |
PHONE RINGS | 0:49:58 | 0:50:00 | |
Ballarat Police. | 0:50:05 | 0:50:07 | |
Charlie, it's me. Listen, he didn't do it. | 0:50:07 | 0:50:10 | |
We've had it wrong all along. | 0:50:10 | 0:50:11 | |
Emma wasn't the intended target, Mary was. | 0:50:11 | 0:50:14 | |
-Doc I... -I need you to bring me the murder weapon, | 0:50:14 | 0:50:17 | |
and the love letter, the one you took from my desk. | 0:50:17 | 0:50:19 | |
Gee, you don't ask for much, do you? | 0:50:19 | 0:50:21 | |
-Thank you, Charlie. -We were just about to close. | 0:50:24 | 0:50:28 | |
Oh, damn. I was afraid we'd left our run too late. | 0:50:28 | 0:50:31 | |
What would you like? | 0:50:31 | 0:50:33 | |
You're a good man, Kevin. Just my usual, a double malted. | 0:50:33 | 0:50:35 | |
And one for Sergeant Davis. | 0:50:35 | 0:50:37 | |
Ah, Tommy. Andy. Good boys. | 0:50:37 | 0:50:40 | |
Mr Van De Heyden, do you own a handgun? | 0:50:40 | 0:50:43 | |
-It's in my safe. You'll have to go through to the back. -Great. | 0:50:43 | 0:50:46 | |
All right. | 0:50:46 | 0:50:48 | |
Just keep at it, boys. | 0:50:48 | 0:50:49 | |
Just mind your step there. | 0:50:51 | 0:50:53 | |
There you go. All above board. | 0:51:01 | 0:51:03 | |
What do you use it for? | 0:51:03 | 0:51:05 | |
Oh, me and the boys are in the local gun club. | 0:51:05 | 0:51:08 | |
Yeah, we're aware of that. | 0:51:08 | 0:51:09 | |
Actually it isn't the .45 we're interested in, Kevin. | 0:51:09 | 0:51:12 | |
-It's the Luger your father brought back from the war. -Oh. | 0:51:12 | 0:51:15 | |
Yep, that's in here somewhere. | 0:51:15 | 0:51:18 | |
-It's, ah... -Is this it? | 0:51:18 | 0:51:20 | |
Yes, it's... | 0:51:24 | 0:51:27 | |
That was the gun used to kill Emma Keneally. | 0:51:27 | 0:51:29 | |
Well, someone must have, ah, broken into the shop and stole it. | 0:51:31 | 0:51:35 | |
How did they get access to the safe key? | 0:51:35 | 0:51:38 | |
Oh, I'm sure they... | 0:51:38 | 0:51:39 | |
Can we do this down at the station? | 0:51:43 | 0:51:45 | |
Dad? | 0:51:45 | 0:51:46 | |
Tommy, just go and look after your little brother. | 0:51:46 | 0:51:49 | |
I did it. | 0:51:52 | 0:51:53 | |
I shot her. | 0:51:53 | 0:51:56 | |
Someone had to stop her, otherwise the blacks would be running this town, if Emma Keneally had her way. | 0:51:56 | 0:52:00 | |
-Dad! -Stay out of it, Tommy. | 0:52:00 | 0:52:03 | |
I s'pose... | 0:52:03 | 0:52:05 | |
you wrote this love letter, too, did you? | 0:52:05 | 0:52:08 | |
To young Mary Jackson? | 0:52:08 | 0:52:10 | |
No, no, of course you didn't. | 0:52:10 | 0:52:13 | |
That's not your handwriting. | 0:52:13 | 0:52:15 | |
You see, Mary was the killer's intended target, not Emma. | 0:52:15 | 0:52:19 | |
It was a case of mistaken identity. | 0:52:19 | 0:52:23 | |
Wasn't it, Tommy? | 0:52:25 | 0:52:27 | |
Mary rejected your advances because she's in love with Winston. | 0:52:27 | 0:52:32 | |
Now, in a moment, Sergeant Davis | 0:52:32 | 0:52:34 | |
will check the handwriting of this letter | 0:52:34 | 0:52:37 | |
against the handwriting in your school books. | 0:52:37 | 0:52:39 | |
I'm sure he'll find a match, | 0:52:39 | 0:52:40 | |
just as I'm sure he'll find a match between | 0:52:40 | 0:52:42 | |
your fingerprints on those milkshake | 0:52:42 | 0:52:45 | |
glasses and the spent shells we found at the murder scene, | 0:52:45 | 0:52:49 | |
and the grip of your grandfather's pistol. | 0:52:49 | 0:52:53 | |
I never meant to shoot Miss Keneally. | 0:52:55 | 0:52:57 | |
I only meant to knock the darkie off. | 0:52:57 | 0:53:00 | |
Why, Tommy? Why? | 0:53:00 | 0:53:02 | |
I paid her all that attention at school. | 0:53:04 | 0:53:07 | |
I was so nice to her. | 0:53:07 | 0:53:08 | |
Come here. | 0:53:11 | 0:53:12 | |
Bit early for the post, isn't it? | 0:53:41 | 0:53:44 | |
Just a tad. | 0:53:44 | 0:53:45 | |
Thank you for sorting out the letterbox, by the way. | 0:53:47 | 0:53:50 | |
Perfectly fine. This one's much nicer, anyway. | 0:53:50 | 0:53:54 | |
Yes, very smart. | 0:53:54 | 0:53:56 | |
You know, Jean, | 0:54:00 | 0:54:02 | |
those children at the orphanage... | 0:54:02 | 0:54:05 | |
..that place. | 0:54:07 | 0:54:09 | |
Seeing them... | 0:54:09 | 0:54:10 | |
I see my daughter. | 0:54:13 | 0:54:15 | |
Alone. Barely able to speak the language. | 0:54:17 | 0:54:21 | |
Her mother dead, her father...gone. | 0:54:22 | 0:54:27 | |
Half-white, half-Chinese. Her life... | 0:54:29 | 0:54:34 | |
Her life must have been unbearable. | 0:54:37 | 0:54:40 | |
Well, you can't blame yourself. | 0:54:40 | 0:54:42 | |
Winston and Mary. | 0:54:44 | 0:54:46 | |
All the little ones at the orphanage. | 0:54:48 | 0:54:50 | |
They've already gone through so much. | 0:54:52 | 0:54:54 | |
Children... | 0:54:58 | 0:54:59 | |
Children just want to be with their parents. | 0:55:00 | 0:55:04 | |
Come inside. I'll make us a cup of tea. | 0:55:09 | 0:55:13 | |
That'd be lovely. I'll be in shortly. | 0:55:13 | 0:55:15 |